silhouette

/sil'ooh et"/, n., v., silhouetted, silhouetting.

n.

1. a two-dimensional representation of the outline of an object, as a cutout or configurational drawing, uniformly filled in with black, esp. a black-paper, miniature cutout of the outlines of a famous person's face.

2. the outline or general shape of something: the slim silhouette of a skyscraper.

3. a dark image outlined against a lighter background.

v.t.

4. to show in or as if in a silhouette.

5. Print. to remove the background details from (a halftone cut) so as to produce an outline effect.

[1790-1800; < F à la silhouette, after Etienne de Silhouette (1709-67), French finance minister]

* * *

Outline image or design in a single solid, flat colour, giving the appearance of a shadow cast by a solid figure.

The term is usually applied to profile portraits in black against white (or vice versa), either painted or cut from paper, especially popular с 1750–1850 as the least expensive method of portraiture. The name derives from Étienne de Silhouette, Louis XV's finance minister, notorious for his frugality and his hobby of making cut-paper shadow portraits. In 17th-century Europe, shadow portraits and scenes were produced by drawing the outline cast by candlelight or lamplight; when paper became widely available, they were often cut out freehand directly from life. Photography rendered silhouettes nearly obsolete, and they became a type of folk art practiced by itinerant artists and caricaturists.

Silhouette portrait by Charles Willson Peale; in the Library of Congress, Washington, D.C.

By courtesy of the Library of Congress, Washington, D.C.

* * *

▪ drawing

 an image or design in a single hue and tone, most usually the popular 18th- and 19th-century cut or painted profile portraits done in black on white or the reverse. Silhouette also is any outline or sharp shadow of an object. The word was satirically derived from the name of the parsimonious mid-18th-century French finance minister Étienne de Silhouette, whose hobby was the cutting of paper shadow portraits (the phrase à la Silhouette grew to mean “on the cheap”).

      The collecting of silhouettes became widespread, especially among world celebrities, the collection of Goethe being an example. Leading silhouette artists of the second half of the 18th century and the early 19th century, the golden age of the art, included Francis Torond, A. Charles, John Miers, C. Rosenburg, Mrs. Brown, Auguste Edouart, T. Hamlet, and Mrs. Beetham (née Isabella Robinson).

      The development of silhouettes is linked to that of outline drawing and shadow painting. Possibly originating in the cave murals of Stone Age peoples, especially those in France and Spain, realistic representation appears to have been first achieved by tracing the outline of an object's shadow, which was generally filled in with a flat colour. Representation by profile drawing continued in the more developed images of the tomb paintings, relief sculpture, and pottery decoration of the ancient Egyptians, Mesopotamians, Minoans, Greeks, and Etruscans. Ancient Greek and Roman painters devised methods of drawing the outline of a person's shadow cast by sunlight, as well as by candlelight or lamplight. The last two techniques became widespread in 17th-century Europe. These shadow portraits were painted on diverse materials (plaster, wax, vellum, and paper) and were frequently elaborately mounted and framed.

 Beginning in the Renaissance period, various mechanical devices, such as the physionotrace, were invented and used to facilitate correct outline drawing. When paper became generally available, shadow portraits and scenes were often cut out, frequently freehand, directly from life. The painted “shade” and the paper-cut silhouette were very fashionable in 18th-century Europe and America as personal mementos. After the mid-19th-century development of the daguerreotype and photography, shadow pictures and silhouettes became a type of folk art, largely executed by itinerant artists on street corners, in cafés, and at fairs. Occasionally, professional caricaturists, such as the Englishman Phil May, continued to use the painted-shadow style; but the underlying principles of silhouette art were mainly to persist in the 20th-century animated cartoons of Walt Disney (Disney, Walt) and Lotte Reiniger and in poster art. At the turn of the 21st century, the American artist Kara Walker (Walker, Kara) revived the silhouette to powerful effect in her work on race and gender relations.

 

* * *